Jump to content

Search the Community

Showing results for tags 'naming'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Board
    • Announcements and Technical Problems
    • Young Composers Magazine
  • Upload Your Compositions for Analysis or Feedback
    • Orchestral and Large Ensemble
    • Chamber Music
    • Choral, Vocal
    • Piano Music, Solo Keyboard
    • Incidental Music and Soundtracks
    • Jazz, Band, Pop, Rock
    • Electronic
    • Incomplete Works; Writer's Block and Suggestions
  • Community
    • Masterclasses
    • Music Appreciation: Suggest Works or Articles
    • Composers' Headquarters
    • Repertoire
    • Performance
    • Advice and Techniques
  • Competitions and Collaboration
    • Competition Hall of Fame
    • Monthly Competitions
    • Collaborative Works
    • Challenges
    • External Competitions
  • Technological
    • Finale and Sibelius Help Desk
    • Sound Libraries
  • Rite of Spring analysis Club's Part 1: Augurs of Spring
  • Rite of Spring analysis Club's Part 1: Introduction
  • Rite of Spring analysis Club's Part 1: Ritual of Abduction
  • Rite of Spring analysis Club's Part 1: Spring Rounds
  • Rite of Spring analysis Club's Part 1: Ritual of the Rival Tribes
  • Rite of Spring analysis Club's Part 1: Procession of the Oldest and Wisest One
  • Rite of Spring analysis Club's Part 1: The Dancing Out of the Earth
  • Play this Passage's HOW IT WORKS
  • Play this Passage's WHO PLAYS WHICH INSTRUMENT(S)
  • Music and Media's Discuss and Collaborate on a Project
  • Young Composers Preludes and Fugues Project's Submit a piece
  • Young Composers Preludes and Fugues Project's Rules and Guidelines

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Biography


Location


Occupation


Interests


Favorite Composers


My Compositional Styles


Notation Software/Sequencers


Instruments Played

Found 1 result

  1. How do you name your pieces? How do you decide what to name a composition of yours? Do you decide on a piece's name before you start composing it, after your start composing it, or after you finish composing it? Do you think the name you give a certain piece is important? In what does that importance consist? Does a piece's name influence how it is perceived? How? These questions apply especially to short pieces that may not have a clearly recognized form. They may be called by various different names like bagatelles, studies, etudes, etc. But they also apply to some extent to larger forms. But multi-movement works like "string quartet", "symphony", "piano trio" seem to usually be named either after the instruments they contain, or the number of instruments, or the form. But even if they employ the names of the instruments or the number of instruments in their construction, these names have come to have a connotation of form too. Thus I cannot write a short piece for string quartet and call it my "String Quartet No. 1" (or can I?). Tradition has it that a string quartet should follow a certain form and have several fully developed movements. But I can still compose a short piece For "string quartet". But that leaves the problem of naming it. I think a short piece FOR "string quartet" (i.e. for the same combinations of instruments the description of which has come to be used as the name for a certain type of multi-movement composition for it) thus suffers the "injustice" of having to be named while a full string quartet does not have to and can simply be called a "string quartet". But is it important to name a piece? Might one not even bother to name a piece? Does an unnamed piece suffer in any way? Does it even come to be neglected? Would a named piece direct greater attention to itself? To test the inherent theory in this last question, perhaps we can compare Beethoven's named piano sonatas like the "Pathetique", "Moonlight", "Waldstein", "Appassionata" and "Hammerklavier" and the attention they have received with other equally great nameless piano sonatas by Beethoven like Op. 110 & 111. Do the named sonatas enjoy greater success with performers and audiences? Or perhaps it is the other way round such that the sonatas that enjoy greater fame have come to be named? Should one follow a tradition of naming pieces? Or should one create one's own names? I have used some names to describe certain types of pieces (like "soliloquy" and "maxim"). I think I have done it in order to retain my freedom in composing and not to have to follow (or possibly be accused of ignoring) the traditions created by already given names.
×
×
  • Create New...